This is all I have been able to give the reader from my own recollection, and from scattered words and hints in the papers of my friend. The accomplishment of this great task would have been a lasting memorial of a new poesy. In this notice I have preferred to be short and dry, rather than expose myself to the danger of adding anything from my own fancy. Perhaps many a reader will be grieved at the fragmentary character of these verses and words, as well as myself, who would not regard with any more devout sadness a piece of some ruined picture of Raphael or Corregio. L. TIECK. NOTES. I. This _rifacimento_ of Arion's story is not mere mythological twaddle. As allegories abound, and as in fact there is a suspicion that the whole Romance may be only an allegory, an "Apotheosis of Poetry,"--the reader must keep open his internal eye. Arion is the Spirit of Poetry as embodied in any age, whether in a single voice, or many. This the age always attempts to drown,--seldom with applause. The sailors are the exponents of an age, or its critics. In the case of Arion, they belonged to a certain tribe of Philistines,--not yet extinct.[5] There is a deep significance in the fact, that they resolutely stopped their ears against the Poet's song. The treasures of the Poet are his ideas of the good and the beautiful, which he fetches from his far home; for he comes, "not in entire forgetfulness." The fact, that Arion preferred jumping overboard to being converted into a heave-offering, is typical of the self-extinguishment and natural dissolution of the true soul, born into a humanity which is not its counterpart, which cannot answer to it. Those providential dolphins are a grateful posterity, which preserve not only the Poet's treasures, but his memory. The conflict among the sailors, too, has a deep meaning, hidden also in that old, wonderful myth of the Kilkenny cats. But an allegory has many sides, like a genuine symphony. Each reader will interpret all of them best from his own point of view. Should Henry himself turn out to be Arion, the feat would only be one of inverted transmigration, and not more extraordinary than the regular method. II. An opportunity is taken to introduce some further remarks of the author concerning History. They are found among a multitude of fragments, arranged under the three heads of Philosophical, Critical, and Moral; an amorphous heap of sayings, generally of great beauty and power. The present have little connexion with the text, but will be their own excuse. The total of his remarks will be seen to hint at a theory of History, with which most school-histories and respectable annals are in no wise infected.